Welcome back to 20 moves in 20 days. Today we are going to talk about Ronda Shaam, one of my absolute favorite moves, and one that I just love this move. I think it is so much fun. And I hope you enjoy it as much as I do. And one of the ways to think about it as if you're drawing circles on the floor, and I think that's a really good metaphor, because you can think about how you're going to be connecting all of the dots to make a full circle. So what happens is, say you're starting in first position, I'm going to bring my foot out front of tungee and then I'm going to draw that little circle to the side, continue drawing it to the back, and then close first.

Closing first is always a critical component. No matter how fast you go in your bondage on you're always going to go through your first position. So I go front and side And back and close, you could reverse it and do the same thing starting to the back. So I started back, and side and front and clicks. Okay, that's really, really broken down. Oftentimes we're gonna go a little bit faster than that.

So let's say we just go a little faster we're gonna go Ferenc back close. So kind of avoiding the stop in the side, for rent, back close, or when we reverse it back, front, back, front, close, then what we're going to do is even more seamless, we're just going to think about it going front and front, and so on and so forth. So we start front, and front, and front and front. Yes. Now the and that I was saying is really important because it is that first position that you always want to cross through no matter what you're doing. Same thing reversed.

We start back, back, and back, and back and back. Alright, so some things to think about before we put this in a combination. The first thing is that again, as as in what we talked about with tattoos and dig issues and all those types of things, our knees stay straight the whole time, both knees have to stay straight. Okay, your toes get to bend your knees do not so, for instance, when I've come all the way back here, I can't bend my knee in order to let my foot slip in. Okay, instead, I bend my toes, just like I knew how to do from our typical Tom do right? And come in that way.

When I reverse it's the same thing. I can't bend and bring my foot in doesn't work like that. I have to bring it around, then my toes and then come in. Okay, so another thing to think about, is we want to really engage our turnout being tight. time. So from here, opening up to this side is usually perfectly fine, then a lot of times what happens is we tend to rotate inwards too soon.

And when we do that, it's going to start revealing our hill to the audience before we want it to right. And that's a giveaway that we're not fully engaging our turnout the whole time. So from here from your side, you still want to think turnout, turnout, turnout, turnout turnout the entire time, right? So I'm really feeling like I'm engaging my turnout, I'm feeling like my hips are rotated, and then when I come back around from the back, immediately, I want to engage my turn out that way, don't come around like this, and then have to switch. But I'm thinking right away, I'm already in a turned out position. I'm just going to engage that I'm going to rotate out, bringing that heel forward as soon as I possibly can and then keeping it rotated the entire time.

Okay. So Think about your knees, not bending just your toes, right? And think about the fact that you want to have a fully engaged turnout the entire time. Hi, those heels as much as you possibly can from the audience. Okay, let's put this together in a little combination. So we're going to start out really slow, we're going to do Front, side, back, and close again, front, side, back, and close, a little faster, front, back, close, front, back close, then for even faster, 567 and eight, that's a little too fast for you to start.

No worries, slow it down to your own pace. You don't have to go at the same speed that I am. And then we're going to reverse it. And then I'll want you to do it on your own on the other side, okay. So we start we go nice. So, front, side, back and forth.

Again, slow, two, three, and close, little faster, front, back, front, back close. Now fastest one, and two, and three, and four. Good. Then we reverse it to the back, we have back, and side and front and close again back, side, front, back, front, closed, back, front, close, a little bit faster. One, and two, and three, and four. Good.

Then you'll go and do that to the other side. Now again, if that feels very fast, or you feel like you can't quite control the ronnie jobs in the way that you would want to, then I would recommend keeping with the very broken down Ron Shawn for a while, that slow version when you're thinking of stopping in each position. That will give you a little bit more Time to practice. And then as you're more comfortable, you can start speeding it up a little bit so that you don't have as many stops but it's just a continuous motion. So all things to kind of play with very commonly in Ronda jobs, you're going to also incorporate some of your Cudi, pa positions and you're ready to Ray, even working on our Porter bras that we did at the very beginning. So if you're interested in kind of expanding that a little bit, you can always add at the end of your run jobs.

You can always add some Porter bras and some retro rays and some bounces and things like that. All right, I will see you tomorrow.